“When I’m not painting, I’m thinking about painting”
– an interview with Diane Marie Uwase by Bruno Claessens
Can you tell us about your background and how you entered the art world?
I was born in Kigali, Rwanda, in 1993. Due to political instability, my family moved through several African countries before arriving in the Netherlands in 1999. We lived in various places, but The Hague felt like home. In 2014, I moved to Brussels, and for the past 2.5 years, I’ve been living in Antwerp. Although I have no memories of Rwanda, I often choose Rwandan women as my models. I find a place of recognition in the journey we share despite the different routes taken.
As a child, I was drawing all the time; it was my primary form of self-expression. However, as an adult, juggling two jobs left me with only Sundays off and little time for art. In 2017-2018, my therapist encouraged me to start creating again as a means of expression. I managed to draw and start painting despite the time constraints. Everything changed in 2020 due to the pandemic and subsequent lockdown. Suddenly, I had ample time and set a goal to improve technically and to think more consciously about my artistic direction. With no formal drawing lessons, I embarked on an intense period of self-study, watching hundreds of videos and tutorials repeatedly until I mastered a specific skill. These tutorials taught me a lot about techniques and allowed me to follow other artists’ creative processes. I became obsessed with sketching, color studies, light and shadow, and in this way was discovering my unique artistic language.
2020 was a transformative year for me. My living room floor became my academy, giving me the space to create and allowing me to unleash my obsessive nature into my practice. A practice that was only possible because of the window of time. Being an artist became an integral part of who I am: if I’m not painting, I’m thinking about painting. Recently, I started taking evening classes at the academy in Antwerp to further develop my technique and style.
How would you describe your artistic style?
My artistic style is currently evolving. In my paintings, I explore the interplay between reality and its inherent absurdity. While hyperrealism isn’t my primary goal, I aim to develop the ability to paint that way. My themes and iconography sometimes verge on surrealism. It appeals to me because, if I were to write a book about my life with all its absurd twists, it would naturally lean towards the surreal. I have always been fascinated by faces, therefore portraiture naturally became my focus. I enjoy depicting my subjects symbolically and through portraiture and telling a story anyone could relate to. I believe that breaking these boundaries through the recognition that my work elicits is my way of challenging the current us/them narrative.
The symbolism in my work is often deeply personal. For instance, the blue sky frequently appears in my work as an anchor. Having moved almost 20 times in my young life, I never had a childhood home and I lost myself a few times, but the blue sky was always present. Constant and unchanging, yet never the same. And so, every detail in my paintings has meaning.
What are the main themes you explore in your work?
Life experiences, societal and social issues, loss and regret are some of the themes I continuously explore. Since I started painting as a psychological outlet it remains the thread that weaves it all together. While I do derive the main themes from my own life, I prefer to find them in a place of recognition in someone else’s journey. My main source of inspiration lies within my models, they inspire me not only visually but also thematically.
Can you tell us about your creative process?
My work emerges from a dialogue between two initially unfamiliar people, transforming into moments I can revisit, like reconnecting with an old friend and former self. During my sessions with models, we share intimate parts of our lives while I do their makeup and we develop ideas for the visuals. This process breaks down any hesitation or shame and creates a bond of trust, essential for discussing deeper, more challenging subjects. The conversation continues as I try to capture their self-perception alongside my perspective. These images serve as visual references for the final work. I strive to create a safe, comfortable space, giving them their moment to be themselves and create with me. After the session, I revisit our conversation, extracting themes and specific subjects for the painting from both the dialogue and the images. Sometimes, it takes multiple times for everything to resonate. I develop most of my ideas by writing about them or making digital collages, often skipping traditional sketches. My color choices and compositions are usually intuitive, organic, and unplanned. The painting itself is just one part of the overall process.
Who are your biggest influences, and how have they impacted your work?
As a self-taught painter, learning the techniques of the old masters is a significant goal for me. I can only aspire to handle oil paint with their expertise. My love for dance and movement as a child drew me to Degas’ work; his ability to infuse static paintings of ballerinas with a sense of movement and life was captivating. I greatly admire Sargent and other portraitists, focusing on the movement of their brushstrokes rather than their themes or iconography. It’s all about studying technique. For instance, Kehinde Wiley’s portrayal of black skin, full of vitality, is something I refer to often when painting. I also follow Dutch artist Martina Johanna, whose surreal, colorful images and distinct style need no signature or introduction. Malik Roberts is another inspiration. I admire the way he mixes abstract elements, cubism, different mediums, and colors to create complex but harmonious pieces.
Can you describe a specific artwork of yours that is particularly meaningful to you?
“The Gift” holds particular significance for me. The model, Aline, is my cousin’s wife. I knew I wanted to paint her as soon as I saw her. Initially, she was reluctant to be photographed but she blossomed during the session. I see my own strengths and weaknesses in her; she feels like a reflection of myself. “The Gift” is my tribute to her, and through it, I also learned much—her gift to me. Our conversations about motherhood, its accompanying fears and complex emotions —before, during, and after—shaped the painting. This portrait captures her essence, reflecting who she was, is now and who she is becoming.